Galdós's Segunda Manera: Rhetorical Strategies and Affective ResponseU.N.C. Department of Romance Languages, 1998 - 200 halaman This book explores the change that occurred in the writings of Spanish novelist Benito Perez Galdos when he entered his segunda manera in 1881 with the publication of La desheredada, his first contemporary novel. Critical work on this important phase of Galdos's career has tended to concentrate on the content of his novels, with little attention given to the way in which Galdos conveys that content to the reader. By studying these works in light of how their stories are told, Linda Willem shows that La desheredada marks the beginning of a more sophisticated and varied mode of narrative in Galdos's novels. Through close readings of his first seven contemporary works, Willem shows how the affective response associated with various narrative devices plays a role in the rhetorical strategies of each text. |
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Halaman 99
... BRINGAS TRILOGY Although Galdós does not designate them as such , El doctor Centeno , Tormento and La de Bringas commonly are referred to as a trilogy because of the recurring characters which link the plot of each of these novels to ...
... BRINGAS TRILOGY Although Galdós does not designate them as such , El doctor Centeno , Tormento and La de Bringas commonly are referred to as a trilogy because of the recurring characters which link the plot of each of these novels to ...
Halaman 136
... Bringas trilogy . " In contrast , the discourse of La de Bringas employs distinctly different narrative voice features which , perhaps , accounts for the more sympathetic reception of Rosalía's character by such scholars as Julián ...
... Bringas trilogy . " In contrast , the discourse of La de Bringas employs distinctly different narrative voice features which , perhaps , accounts for the more sympathetic reception of Rosalía's character by such scholars as Julián ...
Halaman 137
... Bringas relies heavily on direct and free indi- rect thought to portray Rosalía . Diane Urey , in her insightful treat- ment of Rosalía in both works , notes that the most important differ- ence between Rosalía's presentation in ...
... Bringas relies heavily on direct and free indi- rect thought to portray Rosalía . Diane Urey , in her insightful treat- ment of Rosalía in both works , notes that the most important differ- ence between Rosalía's presentation in ...
Isi
ACKNOWLEDGMENTS | 9 |
NEW TRENDS LA DESHEREDADA AND FORTUNATA Y JACINTA | 41 |
RECURRING CHARACTERS THE CENTENOTORMENTOBRINGAS | 99 |
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Istilah dan frasa umum
able actions Agustín allows amigo Manso Amparo Anales Galdosianos appear attitudes becomes behavior Benito Pérez Galdós Bringas calls Centeno chapter characters concept concerning consciousness Consequently continues conversations conveyed course critical desheredada devices direct discoursive discussion display doctor Centeno effect emotional engaged entire example experience exterior feelings Fiction final Fortunata y Jacinta free indirect thought Galdós's implied implied author important interior views Isidora José María Juanito Language limited Madrid Manso mental mind Miquis moral narrative narrator narrator's nature negative noted novel passage past Pérez Galdós perspective point of view political Polo position present present tense reader reading refer relationship reliability response result reveal rhetorical role Romance Rosalía scene segment situation social society speaking story Studies style technique throughout tion Tormento unreliable values various voice volume